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Michel Sanouillet: Dada À Paris. Pauvert. Paris 1965

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Michel Sanouillet: Dada À Paris. Pauvert. Paris 1965 SAMLAREN Tidskrift för svensk litteraturhistorisk fo rskn in g Å RG Å NG 88 1967 Svenska Litteratursällskapet Detta verk har digitaliserats. Bilderna av den tryckta texten har tolkats maskinellt (OCR-tolkats) för att skapa en sökbar text som ligger osynlig bakom bilden. Den maskinellt tolkade texten kan innehålla fel. Almqvist & Wikseils BOKTRYCKERI AKTIEBOLAG UPPSALA 1968 Recensioner 247 litterära expressionismen medverkar även till att öka bokens användbarhet. I en del bidrag, speciellt bland dem om kafélivet under förkrigsåren, framstår expressionismen på ett mindre högtidligt sätt än man är van vid, vilket känns befriande. En brist påpekar Raabe sJälv i sitt förord, teatern är mycket litet representerad. Det är något som man får hoppas Raabe sJälv avhJälper i en kommande publikation. Expressionismen torde vara unik genom det sätt varpå den förblev en stridsfråga vid en tidpunkt, då den för länge sedan bort framstå som historia. Under 30-talet angreps den av nazisterna för kulturbolsJevism och av kommunisterna för borgerlig dekadens och förfacism. I sin bok, Expressionismus. Der Kampf um eine literarische Bewegung, har Raabe samlat helhetsbedömningar av expressionismen från tidiga försök fram t. o. m. nazisternas och kommunisternas salvor under 30-talet. En tyngdpunkt bildar givetvis de artiklar, som författare som Kurt Pinthus och Kasimir Edschmid skrev under första världskriget, flankerade av till dem anknytande dåtida diskussionsinlägg. Tillsammans ger Raabes bok bland mycket annat en del av bakgrunden till den utomordentliga för­ virring man än i dag kan märka i användningen av expressionism som litterär term. Liksom när det gäller Raabes övriga arbeten är den vetenskapliga apparaten utom­ ordentlig och omfattar förutom källhänvisningar korta kommentarer till varJe text och en bibliografi över böcker och artiklar om expressionismen fram t. o. m. 1932. Bengt Larsson MICHEL SANOUILLET; Dada ä Baris. Pauvert. Paris 1965. Beträffande den uppsJö av undersökningar kring det begynnande 1900-talets »ismer» som kännetecknat första halvan av 1960-talet, noterar man med tillfredsställelse, att flera tidigare mer eller mindre förbisedda riktningar väcker forskarnas intresse. Poggioli gav i sin undersökning Teoria dell’ arte d’avanguardia (1962, recenserad i Samlaren 1965) en lysande helhetsbild av avantgardet ur olika aspekter, och exempelvis den italienska futurismen har översiktligt behandlats även som en litterär företeelse, bl. a. i Baumgarths Geschichte des Futurismus (1966). Svårast att få grepp om hittills har troligen dadaismen varit, beroende på bl. a. rörelsens genesis på flera orter samtidigt, dokumentens mycket skiftande art och svårtillgänglighet, begreppsröran och flera fors­ kares nonchalans inför dada — ofta troligen betingad av praktiska skäl. Dada är Ju en odefinierbar rörelse, som eJ kan bindas till någon enstaka person, plats eller teori, en rörelse som har med alla konstarter att göra lika väl som med områden utanför den traditionella konstens råmärken. Dada är dessutom negerande, ologisk och protevsformad och kan synas efemär. Forskarens situation underlättas Ju eJ heller av den anekdotiska floran kring rörelsen eller av det faktum att flera dadaister i efterhand försökt att släta över eller förneka sin ungdoms dadaism. I en sann dadaists ögon innebär sJälva den vetenskapliga behandlingen av dada, inplacerandet av rörelsen i en litterär och konst­ närlig tradition något av en motsägelse. Dada-revolten har emellertid blivit ett omtyckt forskningsobJekt. Sålunda har Prosenc nyligen placerat in Ziirich-dadaismen i ett politiskt och socialt sammanhang i Die Dadaisten in Zürich. Versuch einer soziologischen Deutung (1967) och 1965 utkom den 650 sidor digra avhandlingen Dada a Paris, skriven av Michel Sanouillet, redan känd som specialist på området genom sina editioner av och verk om Marcel Duchamp och Francis Picabia {Marchand du Sel, 1958; 391 I i960; II 1965; Picabia, 1964). Verket är tänkt som en första del i en stor undersökning kring dada över hela världen och bygger på bl. a. 15 års enkäter i olika former, vad gäller det »levande» materialet utförda i grevens tid, då dada-pionJärerna mänskligt att döma snart är utdöda. Verket kan också betraktas som ett försvar för flera av rörelsens förgrundsgestalter, och för­ fattaren är ute i det lovliga syftet att korrigera den stereotypa bild de flesta tycks ha av dada och dess — enligt Sanouillet — cirka hundra anhängare i olika länder under glansperioden. Dokumentationen är imponerande. Av speciellt intresse är författarens tillgång till privata bibliotek och arkiv, t. ex. Tzaras tidigare nästan helt outnyttJade samlingar och Bretons brevväxling, som Breton fördomsfritt ställt till författarens för­ 2 4 8 Recensioner fogande, trots att flera brev eJ visar surrealismens blivande grundare från hans allra bästa sida. Avhandlingens omfattande »appendice» utgöres Just av en dokumentsamling med tyngdpunkten lagd på tidigare opublicerade brev fr. a. från Breton, Tzara och Picabia. Här kunde materialet ha sovrats mer än som skett. Vem är intresserad av t. ex. fölJande Picabia-rader till Breton: »Cher ami, Je compte aller vous voir mardi soir après dîner à 9 heures»? Introduktionen är troligen det för de flesta allra mest intressanta i Sanouillets av­ handling. Den innehåller nämligen vad man tidigare saknat, nämligen en översiktlig framställning av »Dada i världen», i vilken författaren försöker sig på en snabbkarak­ teristik av hur »1’esprit dada» föddes, varvid han gör den praktiska — men naturligtvis orimliga — distinktionen mellan rörelsens »préhistoire réelle» (kriget, futuristiska publika­ tioner efter 1909 osv.) och dess »préhistoire imaginaire» (t. ex. Lautréamont, enligt Sanouillet okänd för Breton och andra dadaister). Verkets kanske allra mest givande partier är introduktionens översikter av dadas olika centra och relationerna mellan ledande dadaister här. Beträffande Zürich-dada (Huelsenbeck, Bail, Janco, Arp, Tzara m. fl.) noterar man fr. a. Hugo Balis stora betydelse i initialfasen, första halvåret 1916, ej blott som grundare av den beryktade tidskriften Cabaret Voltaire utan även som dada- ideolog över huvud. Dada-primitivismen, principen om den skapande spontaniteten, kampanJen mot det traditionella språket m. m. tillskrives delvis Bali, medan däremot de nihilistiska, aggressiva och ikonoklastiska manifestationerna var mera i Tzaras stil. Det är förvånande, hur föga författaren i detta avseende har observerat överenstämmelserna Î attityd och ideologi mellan de italienska futuristerna och dada, vars Ziirichrepresen- tanter i motsats till Marinettis anhängare emellertid kännetecknades bl. a. av aversion mot kriget och antipatriotism. Dada-manifestet 1918, Picabias roll för Tzara och splitt­ ringarna inom gruppen tecknas överskådligt och framställningen slutar med Tzaras ankomst till vännen Picabia i Paris i mitten av Januari 1920, vilket i sJälva avhand­ lingen blir en nyckelepisod, den fokus där Zürich-dada, Paris-dada och New York-dada sammanstrålar. Man förstår redan här, varför författaren tagit Just Paris-dada som ut­ gångspunkt för sina minutiösa undersökningar i dadas historia! Det ligger enligt författaren något förbluffande i överensstämmelserna mellan dada i Zürich och dada i New York, där Picabia och Duchamp satt igång med dadaistiska experiment redan 1915 och där dada fungerade fram till 1923, dock tynande redan fr. o. m. 1917, då Picabia sökte sig till Europa och Paris, dit även Duchamp och Man Ray begav sig 1921. Vissa likheter hade förefallit mindre förbluffande, om författaren tagit mera hänsyn till den delvis gemensamma bakgrunden som onekligen exempelvis kubism och futurism utgör. Intressant är naturligtvis att notera, att dada-andan på lång sikt fick allra störst betydelse i USA, efter andra världskriget i viss mån direkt i neo- dadaismen och pop-konsten och fr. a. indirekt i den dada-inspirerade milJö en modern amerikan lever i. Den tyska dadaismen, som utgått från dada i Zürich redan 1917, verkade i tre urbana centra. I Berlin fick dada så småningom en politisk, 'snarast våldsam karaktär. Arvet från der Sturm och fr. a. die Aktion saknade nog ej betydelse, och såväl Huelsenbeck som Hausmann var övertygade revolutionärer. Våren 1918 kom det första manifestet, kontrasignerat av Tzara, med angrepp mot bl. a. futurister och expressionister och utan direkt politiskt program. Men snart tog »politikerna» överhand — knappast svårt att förstå med tanke på oroligheterna kring spartakistupproret. Passagen om »oberdada» Johannes Baader, som betraktade sig som en åter födelse av Jesus och beströdde Weimar- parlamentet med manifest (»Le Cadavre vert sur le cheval blanc Dada»), i vilka för­ kunnades, att dada tagit makten, väcker onekligen läsarens intresse! Efter 1921 förde dada i Berlin en tynande tillvaro. Avsnitten om dada i Köln och dada i Hannover be­ handlar naturligtvis i första hand Ernst och Arp respektive Kurt Schwitters, som kanske bättre än någon annan i sig inkarnerar de individualistiska, anarkistiska och fantastiska sidorna inom dada. I hans »Merzbilder» nådde i sanning alla tidigare drömmar och teorier om »1 art total» en ytterlighet! Slutligen innehåller inledningen snabbkarak­ teristiker av dada-förgreningar i ytterligare ett tiotal länder, och författaren varnar för ett alltför inskränkt perspektiv på dada. Recensioner 249 Själva undersökningen innebär en minutiös kartläggning av dadas manifestationer i Paris och relationerna mellan fr. a. Ziirich-dada och Paris-dada. Huvudpersoner är gruppen kring Littérature (Hur kunde man
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